Muse: 10 Essential Tracks ALL Fans Should Listen To
20 years and still going - where should you start?
It's been a healthy 21 years since Muse burst onto the scene with their debut album, Showbiz, and almost 26 years since Matt Bellamy, Chris Wolstenholme and Dominic Howard first came together to win a local battle of the bands competition as then-titled, Rocket Baby Dolls.
Since that time the Devon rock trio have released countless singles across 8 albums, been influenced by space rock and dubstep, had a hit single thanks to Guitar Hero and played sold out shows across the world.
Their songs have dealt with wide-ranging and complex themes, from the simple meaning of love to fear over the evolution of technology. Even the apocalypse itself.
All the while, there's been hard hitting lyrics, thumping beats and rally cries that have led the band into superstardom.
To narrow down their alternative rock history to a list of only the essentials is a task in and of itself. With so many timely and well written songs to choose from, what's here specifically calls out to the band's ultimate appeal:
That perfect blend of rock and electronica, which truly encapsulates the meaning of Muse.
10. Plug In Baby
Plug In Baby led Muse's second album, Origin of Symmetry back in 2001. At the time it was the band's biggest hit on the UK charts, peaking just outside the top 10, though they've obviously gone from strength to strength ever since.
The track is most notable for its opening guitar riff, but what's more interesting is the meaning behind the song and its lyrics of a plug in baby, crucifying enemies. Well, almost, since the band have revealed multiple different explanations for the song across different interviews over the years.
From supposedly being inspired by living above a sex shop in Exeter to the fear of humans losing their individuality, there's no one true definition except for the fact that it's a clear cut banger of a track.
Side note: One of the B-Sides to the song (a track called Execution Commentary) is considered by Bellamy to be one of his worst written songs ever, and the track along with the album itself wasn't released until four years later in the US. It followed disagreements between Muse and musical label Maverick over Bellamy's falsetto that ends the track.